In
the 1950's author Issac Asimov created the "laws of robotics," expecting
that humanoid robots should be designed so they would serve humans, help
them but not hurt them. That was Asimov's reaction to the sci-fi idea of
killer rogue robots. In anime, robots go on rampages and kill, but they're
also work tools and pets. Talking about the role of robots and mecha in anime
were Takashi Nakamura, director of the Tree of Palme feature which takes
an unique look at the subject, Taro Maki, who produced the Mobile Police
Patlabor series where mecha are oversized work tools, and Yasuhiro Irie,
director of the Rahxephon and Vision of Escaflowne series which used robots
as mecha and as substitute humans.
Nakamura
is aware of the practice of putting mecha in a show to sell toys. He prefers
stories where people have to deal with mecha in a more human manner, in the
way people treat cars and construction equipment. "I've dealt with the issues
of mankind and humans," Nakamura. This director prefers stories which treat
robots as characters with their own personalities, series such as Astro Boy
and Iron Man No. 28. "A robot can be someone who helps a child, so there
is an emotional side to a robot. I think that robots are something that suit
the style of animation."
As
a producer, Maki is interested in making "cool mecha" that will interest
viewers and toy companies. "In Patlabor a robot is dealt with as a machine,
but I wanted the machine to be interesting," said Maki. "The show also shows
the comic everyday life of the police. While I wanted the machines to look
cool, I wanted them to reflect the comic overall level of the story." Patlabor's
mecha, one which is treated as a pet by the police officer who pilots it,
have their own personalities, depending on their owners or purpose - a Patlabor
police mecha looks different than a construction mecha. "It is possible to
design a robot with no personality, but I think when people see that portrayal
the robot is going to come off as stupid," said Maki. "It's not about the
robot, it's the way that people react to it. Tetsujin 28 is a machine and
people pilot it, but there are scenes where it rains and water pools in the
eyes of the robot - no matter what you do, it looks like the robot is crying."
Irie
spoke about the way his most famous series use mecha. "Escaflowne is one
of the rare works that combines both types of mecha (as machines and
as heroes). In Japan, when we use mecha robots, they do have some heroic
elements eventually involved." So Escaflowne is about a huge mecha that looks
a little like an organic Gundam, a partially living machine. Then there are
the mostly-alive mecha of Rahxephon who attack through a "singing" sound
they make. According to Irie, he wanted to try a new method of attack, and
he thought music, sound and noise would be a unique weapon.
In
the 1950's author Issac Asimov created the "laws of robotics," expecting
that humanoid robots should be designed so they would serve humans, help
them but not hurt them. That was Asimov's reaction to the sci-fi idea of
killer rogue robots. In anime, robots go on rampages and kill, but they're
also work tools and pets. Talking about the role of robots and mecha in anime
were Takashi Nakamura, director of the Tree of Palme feature which takes
an unique look at the subject, Taro Maki, who produced the Mobile Police
Patlabor series where mecha are oversized work tools, and Yasuhiro Irie,
director of the Rahxephon and Vision of Escaflowne series which used robots
as mecha and as substitute humans.
Nakamura
is aware of the practice of putting mecha in a show to sell toys. He prefers
stories where people have to deal with mecha in a more human manner, in the
way people treat cars and construction equipment. "I've dealt with the issues
of mankind and humans," Nakamura. This director prefers stories which treat
robots as characters with their own personalities, series such as Astro Boy
and Iron Man No. 28. "A robot can be someone who helps a child, so there
is an emotional side to a robot. I think that robots are something that suit
the style of animation."
As
a producer, Maki is interested in making "cool mecha" that will interest
viewers and toy companies. "In Patlabor a robot is dealt with as a machine,
but I wanted the machine to be interesting," said Maki. "The show also shows
the comic everyday life of the police. While I wanted the machines to look
cool, I wanted them to reflect the comic overall level of the story." Patlabor's
mecha, one which is treated as a pet by the police officer who pilots it,
have their own personalities, depending on their owners or purpose - a Patlabor
police mecha looks different than a construction mecha. "It is possible to
design a robot with no personality, but I think when people see that portrayal
the robot is going to come off as stupid," said Maki. "It's not about the
robot, it's the way that people react to it. Tetsujin 28 is a machine and
people pilot it, but there are scenes where it rains and water pools in the
eyes of the robot - no matter what you do, it looks like the robot is crying."
Irie
spoke about the way his most famous series use mecha. "Escaflowne is one
of the rare works that combines both types of mecha (as machines and
as heroes). In Japan, when we use mecha robots, they do have some heroic
elements eventually involved." So Escaflowne is about a huge mecha that looks
a little like an organic Gundam, a partially living machine. Then there are
the mostly-alive mecha of Rahxephon who attack through a "singing" sound
they make. According to Irie, he wanted to try a new method of attack, and
he thought music, sound and noise would be a unique weapon.
